…on using the register key

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heather roche

Something that’s started to interest me recently when it comes to clarinet writing and collaboration with composers, is the generation of material. I love these long collaborative meetings where you just sit together and generate material for its own sake. And I love seeing what makes it into the piece later, and what doesn’t. That’s basically what my whole PhD was about.

It seems to me that a lot of the time when working with composers, generating material comes down to things like “well, that’s great, but can you do and b… at the same time?” It’s all about layers, and isolation of various bits of the instrument and then layering all those isolations. Fun stuff. And it’s about developing an understanding about how certain aspects of the instrument function and how you can use them. Sometimes this is about taking one note and adding layers of different articulations, singing…

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Les instruments de musique les plus loufoques (galerie)


Etrange et Insolite

Cette ancienne planche de skateboard est devenue une guitare Cette ancienne planche de skateboard est devenue une guitare

Violon à trois manches, flûte traversière réalisée avec de la tuyauterie ou encore instruments à vent taillés dans des légumes, voici ici la liste non exhaustive de ce qui peut se faire de plus loufoque et surprenant en matière d’instruments de musique.

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Early music online

From the RILM blog: covering another valuable resource, Early Music Online, included in my board: http://www.pinterest.com/jordanconductor/music-web-apps/


Early music online is the result of a project aimed at digitizing 300 volumes of the world’s earliest printed music from holdings at the British Library and making them freely available online. The project has focused on the British Library’s holdings of 16th-century anthologies of printed music, as listed in RISM B/I (Recueils imprimés XVI-XVIIsiècles).

These collections printed in Italy, Germany, France, England, and Belgium contain approximately 10,000 works, which have been individually indexed. The volumes mainly comprise vocal polyphony partbooks, but they also include early printed tablatures for keyboard or plucked string instruments.

The digitized books can be browsed via Royal Holloway’s digital repository. Full details of each volume, searchable by composer and by title, with links to the digitized content, can also be found in the British Library Catalogue, UK RISM database, and COPAC.

Above, an excerpt from a work…

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Dots and Strokes in Mozart

Early Music, xxi

I mentioned when tweeting this post that:

This is not to say that I have all the answers, just that often don’t care for the answers I often receive from others, even those whom I generally respect. I don’t care for the ways people tend to approach rhythmic notation, ornaments, tempo markings, bowings, and articulations, to name only a few. Let’s just remember that he’s perhaps the most composer in history. Taking just the issue of staccato notation, we have great data on this, about which Neumann concludes in 1993:

“there seems to be little doubt that Mozart distinguished dots and strokes, and… distinguished the signs with deliber-ation where it did matter. By so doing he gave us price- less clues for a richer, more colourful, and sometimes more dramatic, range of expression than the score could suggest without the eloquence of the two signs.”

Mozart Quartet in D
Mozart Quartet in D

It’s unfortunate that not even the headline of these articles seems to get remembered, let alone Neumann’s 6 categories of differentiation. In short, I hope we can all get more serious about reading up on the composers we study and love instead of letting our 21st century sensibilities do all the decision-making for us.

Read more in Early Music:

Retrieved from JSTOR: Early Music, Vol. 21, No. 3 (Aug., 1993), pp. 429-435

Original: http://www.jstor.org/stable/info/3128294
Pin: http://www.pinterest.com/pin/389491067745671842/
PDF: http://jordanconductor.tumblr.com/post/79179028784/dots-and-strokes-in-mozart